Marshall Conover, grade twelve, is what one would call an unconventional artist. He describes himself as passionate, diverse, and prone to obsess over different subjects; this, from was subsequently relayed, was likely the most accurate portrait one could ever draw of themselves. His evident zeal persists over a broad range of topics, an excitement that seeps outwards as he described, in detail, interests in history, botany, reading, physics, gardening and art. A tenderness, to further demonstrate his multifaceted personality, is discernible both in palpable portrayals of carefully grown succulent plants and a play by play account of his first art project.

This well roundness was ingrained within him from an early age, artistic expression being a fundamental taught by his mother. Marshall recalls the craft corner as a permanent fixture in his art-valuing-household, and was accustomed to his parents' wish for him to attempt subjects he may not be naturally adept at. His style is known to fluctuate over different mediums and styles; notably abstract interpretations, erratic sketches, paintings, collages, Photoshop, and 3D sculptures. This capricious methodology, yielded by Marshall's refusal to adopt an exclusive style, has allowed his art to be uniquely defined by experiments, as “life would be amazingly boring if one did the same thing over again.” Alternatively, Marshall adheres to a “continual evolution” philosophy, deeming his works to be mere stepping stones to possible greatness.

To aspiring artists, he proffers a methodology that deters from the more orthodox view, believing that one, in refusing to idolize or regard pieces as precious, is free to experiment and re-purpose. This conclusion is drawn logically from the common idea that all works produced are better than the last, therefore, nothing one creates can ever be the pivotal masterpiece of their artistic career. It is thus a common occurrence for Marshall to present a piece worthy of revere and scrupulous care only to tear the thing to un-salvageable bits. This is not a specimen of a perfectionist impassioned with rage, but exemplifies Marshall’s own re-purpose credo, as these shredded debris could then be used to create another, more magnificent composition.

​The whole ideology of constant improvement is ubiquitous throughout his life, extending to the multiple techniques Marshall explores to enhance ability. A lover of 3D modelling, Marshal attended a Cornwell summer architecture class, putting a respectable 48 hours into his final project, which even he, as one maintaining a purported “casual” attitude towards his work, was proud of. Determined to explore other branches, of where he may not be so proficient in, Marshall has delved into the perplexing realm of Photoshop, the finicky craft of collage, and, going off and a spiel, speculated whether or not to attempt pottery.

He admits to one gap in this thorough creative knowledge; realism. This nominal deficiency, however, gives him greater respect for artists who have mastered the skill. His greatest idol is Gustav Klimt, known for his trademark “unusual” portraits;” a fitting admiration from one already perceived as rather eccentric. Modesty is an added merit of Marshall's, building upon the aforementioned impromptu methodology in a refusal to publicize his work. Although, if one were to ask to view a recently procured piece, Marshall happily turns them over without a second thought, eliminating any trace of meekness. He describes this offhand logic to go hand in hand with a decided lack of philosophical pondering, yielding his spontaneous nature. Marshall's art is intended to embody “novelty, composition and color” simply by transferring inner ruminations onto paper. The main objective and blanketing reason to pursue art, however, is simply “transforming something ordinary into something extraordinary.”